Cath Clarke

A lairy, likable film.

The film, with its clanging score, felt to me slightly tactless in its approach, like a Hollywood-ised version of a human interest story.

There are beautiful moments from David Hockney’s home-video stash in this thoughtful doc.

A smart and satisfying movie, although the crashy-bashy deafening score is so loud you can probably hear it in space.

In the end, it’s a film with a melancholic feel, which probably has a lot to do with its timing.

As a thriller, Before I Go To Sleep is perfectly effective, but while director Rowan Joffe keeps the twists coming, something about Kidman’s blank, frosty performance is unconvincing.

It’s entertaining enough and you never know where the story is headed, but it doesn’t quite hold together.

The movie is not lacking in adventure, perhaps what’s missing is a sense of fun.

ISS does deliver one knock-out terrific death in space: a screwdriver to the neck, perfect little bubbles of blood floating prettily away in zero gravity.

It is something of a letdown: a funny but conventional glossy romcom. But there is no messing with Viswanathan, who is undoubtedly the main attraction.

It feels kid-gloves at times: big-hearted and entertaining, but possibly lacking a little fun or oomph. A lovely warming film, though.

After Blue is a preposterous film, easy to ridicule. But it’s surely already halfway to cult classic status – destined to play midnight slots, watched by students smuggling bottles of red wine into the cinema under their coats.

The film is essentially a legal procedural: solid, mostly entertaining and occasionally gripping.

It’s a touching film and a fascinating glimpse into one of those couples you can’t quite believe are still together.

The documentary’s director, Oscar Harding, explains that his grandfather was a neighbour of Carson’s in the wonderfully named village of Huish Champflower, and he was first shown A Life on the Farm age six. Stretching this curiosity of a man and his work into a full-length documentary is perhaps pushing it.

It’s all very sweet and harmless, though you can’t help wishing that Cinders got her happy ending for more than being kind to her digital mice and weathering a lot of crap with a never-ending smile on her face.

It’s a gentle and superbly shot film.

At two hours, the film feels a little long, but this is a heartfelt and human drama with the texture of truth and characters to care about.

It makes for some fun moments and a funny showdown with the baddies. In the old days this would probably have gone straight to tape, so straight-to-download feels like the right place.

Brilliantly acted but never entirely credible and not quite the force for feminism it wants to be.

For good to prosper, it seems, all it takes is enough good people to take action. It’s an uplifting message in a watchable movie.

It’s propulsively watchable if a tad light on reflection. And you may feel hoodwinked by one late reveal.

The strength of the writing is in portraying Bunny’s reality, allowing us to wonder – like the social workers – whether she really is a reliable parent. This is thoughtful film-making, though I didn’t quite buy into the explosion of drama at the end.

With so much intense focus lavished on the action, there’s none to spare for the characters’ emotional lives, and it’s hard to care much about who lives or dies.

It’s stylishly shot by first-timer Louis-Seize, a bit reminiscent of an early Jim Jarmusch movie with its deadpan sense of humour, never trying too hard, just a little bit too cool for school.

Some might find her style, leaving no thought unexamined, a bit rambling, but Paula is doing something interesting here.

Bell is so goofy and likeable I found myself willing the film to keep up with her. But the funny bits are never quite funny enough, and the script loses feminist points bigtime for its sour bitch ex-wife character.

There are plenty of heart-pumping moments, plus a fair few false notes, a couple of implausible coincidences and some exposition-y dialogue spelling out the film’s message, which is about how the two sides see each other.